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Exposing Digital Forgeries in Color Filter Array Interpolated Images

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Exposing Digital Forgeries in Color Filter Array Interpolated Images 1 Exposing Digital Forgeries in Color Filter Array Interpolated Images Alin C. Popescu and Hany Faridy Abstract With the advent of low-cost and high-resolution digital cameras, and sophisticated photo editing software, digital images can be easily manipulated and altered. Although good forgeries may leave no visual clues of having been tampered with, they may, nevertheless, alter the underlying statistics of an image. Most digital cameras, for example, employ a single sensor in conjunction with a color filter array (CFA), and then interpolate the missing color samples to obtain a three channel color image. This interpolation introduces specific correlations which are likely to be destroyed when tampering with an image. We quantify the specific correlations introduced by CFA interpolation, and describe how these correlations, or lack thereof, can be automatically detected in any portion of an image. We show the efficacy of this approach in revealing traces of digital tampering in lossless and lossy compressed color images interpolated with several different CFA algorithms. I. INTRODUCTION When it first surfaced, the digital image of Jane Fonda and Senator John Kerry sharing a stage at an anti-war rally was explosive 1. It was also a fake. The image was created by digitally splicing together two separate images. Because of the ease with which digital media can be manipulated, these types of digital forgeries are becoming more common. As a result, photographs no longer hold the unique stature as a definitive recording of events. Digital watermarking has been proposed as a means by which an image can be authenticated (see, for example, [1], [2] for general surveys). The major drawback of this approach is that a watermark must be inserted at the time of recording, which would limit this approach to specially equipped digital cameras. This method also relies on the assumption that the digital watermark cannot be easily removed and reinserted — it is not yet clear whether this is a reasonable assumption (e.g., [3]). In contrast to these approaches, we and others have proposed techniques for detecting tampering in digital images that work in the absence of any digital watermark or signature [4], [5], [6], [7], [8], [9], [10]. These techniques work on the assumption that although digital forgeries may leave no visual clues of having been tampered with, they may, nevertheless, alter the underlying statistics of an image. Most digital cameras, for example, capture color images using a single sensor in conjunction with an array of color filters. As a result, only one third of the samples in a color image are captured by the camera, the other two thirds being interpolated. This interpolation introduces specific correlations between the samples of a color image. When creating a digital forgery these correlations may be destroyed or altered. We describe the form of these correlations, and propose a method that quantifies and detects them in any portion of an image 2. We show the general effectiveness of this technique in detecting traces of A. C. Popescu is with the Computer Science Department at Dartmouth College. Corresponding author: H. Farid, 6211 Sudikoff Lab, Computer Science Department, Dartmouth College, Hanover, NH 03755 USA (email: [email protected]; tel/fax: 603.646.2761/603.646.1672). This work was supported by an Alfred P. Sloan Fellowship, a National Science Foundation CAREER Award (IIS-99-83806), a departmental National Science Foundation Infrastructure Grant (EIA-98-02068), and under Award No. 2000-DT-CX-K001 from the Office for Domestic Preparedness, U.S. Department of Homeland Security (points of view in this document are those of the authors and do not necessarily represent the official position of the U.S. Department of Homeland Security). 1The actress Jane Fonda was well known for her strong views against the involvement of the United States in the Vietnam war. After serving in the Vietnam war, John Kerry spoke out against the war. The photograph of Fonda and Kerry appeared as Kerry was running for President of the United States, and came at a time when his involvement in the anti-war movement was under attack. 2Portions of this work also appear in the Ph.D. dissertation [11]. 2 r1;1 g1;2 r1;3 g1;4 r1;5 g1;6 g2;1 b2;2 g2;3 b2;4 g2;5 b2;6 r3;1 g3;2 r3;3 g3;4 r3;5 g3;6 g b g b g b 4;1 4;2 4;3 4;4 4;5 4;6 · · · r5;1 g5;2 r5;3 g5;4 r5;5 g5;6 g6;1 b6;2 g6;3 b6;4 g6;5 b6;6 . Fig. 1. The top-left portion of a CFA image obtained from a Bayer array. The red, r2i+1;2j+1 , and blue, b2i;2j , pixels are sampled on rectilinear lattices, while the green, g2i+1;2j and g2i;2j+1 , pixels are sampled twice as often on a quincunx lattice. Notice that at each pixel location only a single color sample is recorded. digital tampering, and analyze its sensitivity and robustness to simple image distortions (compression, noise, and gamma correction). II. COLOR FILTER ARRAY INTERPOLATION ALGORITHMS A digital color image consists of three channels containing samples from different bands of the color spectrum, e.g., red, green, and blue. Most digital cameras, however, are equipped with a single CCD or CMOS sensor, and capture color images using a color filter array (CFA). The most frequently used CFA, the Bayer array [12], employs three color filters: red, green, and blue. The red and blue pixels are sampled on rectilinear lattices, while the green pixels are sampled on a quincunx lattice, Fig. 1. Since only a single color sample is recorded at each pixel location, the other two color samples must be estimated from the neighboring samples in order to obtain a three-channel color image. Let S(x; y) denote the CFA image in Fig. 1, and R~(x; y), G~(x; y), B~(x; y) denote the red, green, and blue channels constructed from S(x; y) as follows: S(x; y) if S(x; y) = r R~(x; y) = x;y (1) (0 otherwise S(x; y) if S(x; y) = gx;y G~(x; y) = (2) (0 otherwise S(x; y) if B(x; y) = bx;y B~(x; y) = ; (3) (0 otherwise where (x; y) span an integer lattice. A complete color image, with channels R(x; y), G(x; y), and B(x; y) needs to be estimated. These channels take on the non-zero values of R~(x; y), G~(x; y), and B~(x; y), and replace the zeros with estimates from neighboring samples. The estimation of the missing color samples is referred to as CFA interpolation or demosaicking. CFA interpolation has been extensively studied and many methods have been proposed (see, for example, [13] for a survey, and [14], [15], [16] for more recent methods). We will briefly describe seven demosaicking techniques for the Bayer array that are used in our studies. In selecting these seven algorithms, we have tried to cover a range of CFA algorithms, from the simple (bilinear), to ones that are employed in commercially available digital cameras (gradient-based), to more recent algorithms that may one day be employed in commercial digital cameras. A. Bilinear and Bicubic The simplest methods for demosaicking are kernel-based interpolation methods that act on each channel independently. These methods can be efficiently implemented as linear filtering operations on 3 each color channel: N R(x; y) = h (u; v)R~(x u; y v) (4) r − − u;v= N X− N G(x; y) = h (u; v)G~(x u; y v) (5) g − − u;v= N X− N B(x; y) = h (u; v)B~(x u; y v); (6) b − − u;v= N X− where R~( ), G~( ), B~( ) are defined in Equations (1)-(3), and h ( ), h ( ), h ( ) are linear filters of size · · · r · g · b · (2N + 1) (2N + 1). Different forms of interpolation (nearest neighbor, bilinear, bicubic [17], etc.) differ × in the form of the interpolation filter used. For the Bayer array, the bilinear and bicubic filters for the red and blue channels are separable. The 1-D filters are given by: h = 1=2 1 1=2 h = 1=16 0 9=16 1 9=16 0 1=16 ; (7) l c − − T T and the 2-D filters are given by hl hl and hc hc. The bilinear and bicubic filters for the green channel, however, are no longer separable and take the form: 0 0 0 1 0 0 0 0 0 9 0 9 0 0 0 1 0 20 9 −0 81 −0 9 03 1 1 − − h = 1 4 1 h = 61 0 81 256 81 0 17 : (8) l 4 2 3 c 256 6 7 0 1 0 60 9 0 81 0 9 07 6 − − 7 4 5 60 0 9 0 9 0 07 6 − − 7 60 0 0 1 0 0 07 6 7 4 5 Using bilinear interpolation, for example, the color samples at pixel locations (3; 3), (3; 4), and (4; 4), Fig. 1, are given by: g + g + g + g b + b + b + b R(3; 3) = r G(3; 3) = 2;3 3;2 3;4 4;3 B(3; 3) = 2;2 2;4 4;2 4;4 (9) 3;3 4 4 b + b r + r G(3; 4) = g B(3; 4) = 2;4 4;4 R(3; 4) = 3;3 3;5 (10) 3;4 2 2 r + r + r + r g + g + g + g B(4; 4) = b R(4; 4) = 3;3 3;5 5;3 5;5 G(4; 4) = 3;4 4;3 4;5 5;4 : (11) 4;4 4 4 B.
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